TWO ROUNDS at Jermyn Street Theatre

★★★

“a tear-stained love letter to mothers and daughters”

Two Rounds explores the legacy of womanhood through two generations of four women in a tender and contemplative story. The first group we meet is a tea-party of housewives living in 1960s Italy. Translated from its original Italian debut and written by Cristina Comencini, the piece is a long conversation between four mothers. In the second act the actors play their respective daughters. Nothing happens to the characters beyond what they simply reveal dramatically to each other and events described off-stage. Beatrice, a vision in pink, (Daria Mazzocchio) is pregnant with her first child. Claudia (Natalie Cutler) in a green poodle skirt is uptight and traditionalist and consistently reminds Beatrice to expect even more pain in childbirth than whatever she imagines. Briskly dealing cards for the game is Gabriella (Flora Sowerby), in blue mid-length trousers. She criticises the nature of their housewife role with dry humour and knowing looks. Lastly, in matching purple headband and trousers is Sofia. She wins often at cards, but feels she has not won at life. Sofia (Saria Steyl) laments her life and delivers philosophical rants whilst chain smoking (around a pregnant woman…it’s definitely the 60s!) with pithy delivery.

Permeating the emotional moments is bright and dreamy lighting with vibrant pinks and an occasional flickering hanging lamp (Han Sayles). The set consists of a living room decorated with a somewhat kitsch collage of black and white photos of brides, mothers and families with the costumes doing heavy lifting in evoking the time period (Evelien Van Camp). Further punctuating the drama in the women’s conversation is a light piano score and Italian music (Hattie North). At the change to the next generation the home is draped in sheets and with cooler more sombre lighting and some Nokia ringtones to garnish its 90s setting.

“it is performed with quiet strength from the cast in both acts”

The relationship between mother and daughter is captured through the dual roles of the performers. Beatrice, pregnant with her daughter Giulia tells us she adored her mother who died. Directly mirroring these events in the 90s, Giulia (Mazzocchio) gathers her childhood friends after a funeral. Claudia, who idolised her mother, discusses the value she places in her role as a parent. In the second act, her daughter Cecilia (Cutler) is desperate to be pregnant. Gabriella, who feels lonely and side-lined proclaims she will teach her daughter Sara to play piano. Sara (Sowerby), a concert pianist, wishes her husband were more assertive in their marriage, disliking how he emasculates himself. Sofia feels dispassionate about her role in her daughter’s life. A doctor, Rossana (Steyl), who keeps an unlit cigarette in her mouth (it’s a metaphor) discusses balancing a career and family life. The women in the 90s generation discuss their problems with feminism and to some extent seem to dislike some of the freedoms they have that their mothers didn’t. The women of the elder generation casually admit to adultery, loneliness and resentment with their respective daughters supposedly in the room next door. Conversely, none of the daughters have become mothers in the second half and have made their own choices in their work and love lives.

Overall it is performed with quiet strength from the cast in both acts. Steyl’s performance enamours the audience to a regretful and bitter Sofia. Mazzocchio is endearing as Beatrice and Giulia, showing range. Directed by Aida Rocci, the scenes weave through the tea party and funeral but avoid over-the-top melodrama with expertly placed jokes by Cutler and Sowerby. However in lieu of conflict, expositional dialogue takes up the entire runtime. It is a tear-stained love letter to mothers and daughters.

TWO ROUNDS at Jermyn Street Theatre

Reviewed on 8th February 2024

by Jessica Potts

Photography by Giulia Delprato

Previously reviewed at this venue:

THE BEAUTIFUL FUTURE IS COMING | ★★★★ | January 2024

OWNERS | ★★★½ | October 2023

INFAMOUS | ★★★★ | September 2023

SPIRAL | ★★ | August 2023

FARM HALL | ★★★★ | March 2023

LOVE ALL | ★★★★ | September 2022

CANCELLING SOCRATES | ★★★★ | June 2022

ORLANDO | ★★★★ | May 2022

FOOTFALLS AND ROCKABY | ★★★★★ | November 2021

THE TEMPEST | ★★★ | November 2021

TWO ROUNDS

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★★★★

“a packed, intense, and thought-provoking eighty minutes which will leave you shocked and concerned in equal measure”

Jermyn Street Theatre and DONOTALIGHT present this co-production of a new play by Gen Z writer Flora Wilson Brown.

On a near bare stage, three scenes are acted out in rotation – cyclical duologues but miniature plays in their own right: Eunice (Sabrina Wu) is a nineteenth century New York scientist struggling to break through the glass ceiling. Husband John provides moral support but betrays his own inherent prejudices. As Eunice works tirelessly to make her voice heard, neglecting her home and her children, she is afflicted with a disturbing recurring dream, as horrifying as it is inexplicable. Scene two is set slightly in the future. Claire (Martha Watson Allpress) and Dan are environmental lobbyists taking their first steps into romance until climate-change tragedy strikes. And the third scenario, set a generation into the future, is a post-apocalyptic world in which biological researchers Ana (Pepter Lunkuse) and Malcolm are trapped by unprecedented rainstorms in the wilds of Svardbard. An inspired touch is that the man in each scene is played by the same versatile actor (George Fletcher). Conversations segue between the three zones as he morphs from one character to the next, a subtle change in vocal tone and accent signifying the change.

The four actors remain on stage primarily the whole time. There is little movement – some occasional eerie slow pacing – but in the tiny confines of this space that is all to the good (Harry Tennison director). Flora Wilson Brown attempts a realistic depiction of conversation – sentences aren’t finished, couples speak over each other – which is most successful in the scene closest to our own time. The whole ensemble is first rate, quickly paced, and the succinct writing keeps us on our toes as we listen out for well-placed clues as to backstory and goings-on elsewhere.

There is a poignancy in the final scenes as the loan male leaves the action to allow the final words to be heard solely from the voices of the women. Eunice and Claire unite in their descriptions of the desecration caused by climate change whilst Ana projects the hope for the future through her unborn child and the literal green shoots in the seeds she has nurtured.

Despite the play’s optimistic title and its many moments of humour this is not a cheery piece. It’s a packed, intense, and thought-provoking eighty minutes which will leave you shocked and concerned in equal measure.

TWO ROUNDS at Jermyn Street Theatre

★★★

“a tear-stained love letter to mothers and daughters”

“it is performed with quiet strength from the cast in both acts”

TWO ROUNDS at Jermyn Street Theatre

Reviewed on 8th February 2024

by Jessica Potts

Photography by Giulia Delprato

Previously reviewed at this venue:

TWO ROUNDS

TWO ROUNDS

THE BEAUTIFUL FUTURE IS COMING at Jermyn Street Theatre

★★★★

“a packed, intense, and thought-provoking eighty minutes which will leave you shocked and concerned in equal measure”

THE BEAUTIFUL FUTURE IS COMING at Jermyn Street Theatre

Reviewed on 31st January 2024

by Phillip Money

Photography by Jack Sain

Previously reviewed at this venue:

THE BEAUTIFUL FUTURE IS COMING

THE BEAUTIFUL FUTURE IS COMING